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Francisco de Goya y Lucientes. Aragonese painter. 1746 -1828 recorded series "The bullfighting"

Corrida.

Palenque of the Moors made donkeys, to defend embolado bull.

way in which the old bulls in the field hunting.

Another way to hunt on foot.

Car Combat harnessed two mules.

Toro harassed by dogs.

JOSE MANUEL 24/05/2008 MATILLA
GOYA AND THE CRITICAL VIEW bullfighting.


the end of his life in exile in Bordeaux, Goya said his friend Leandro Fernández de Moratinos "had fought in his time." From this and other references as well as his paintings and prints, has been forming a topical image the artist has become a staunch fan of the bulls. Of all his work, the series of 33 prints of bullfighting, published in 1816, is the best expression of his vision the world of bullfighting. And he did it with such intensity that allows us to raise many questions about his true feelings for the party after the War of Independence. Goya uses a subject that at first glance may look for recreation, but a closer look leads us to understand the perspective of violence, cruelty and death, placing them in the field of critical and aesthetic disasters of war. Goya thus echoed the debate over the legitimacy of bullfighting was in the midst of the enlightened society, where some of the leading intellectuals of the time, like Jovellanos and Vargas Ponce, had put into question, reaching to promote prohibition.
In Bullfighting this context can be understood as a sign critical of the violence inherent to human beings through irrational confrontation with the bull, whose final Aboca not his death but that of the bullfighter. No wonder the series ends with the tragic death of Pepe-Hillo. Bullfighting are not sympathy with the bull, but respect the man, who isolated the reason, he faces the danger recklessly.
The dramatic tension in these works, coupled with its exceptional formal development, the icon becomes a drama that is the essence of bullfighting from the look of Goya's great and independent.
José Manuel Matilla is head of the Department of Prints and Drawings from the Prado Museum.



"hamstrung by the rabble with spears, crescents, flags and other weapons." The hamstrings was a very cruel and horrible http://www.facebook.com/video/video.php?v=1390280518320&ref=mf practice that cut the legs from behind the calf live to kill him in a more comfortable or just for fun. "
NOTE: This video is pictures of the bull, but a paper by Don Pablo de Lora, related to the subject of the abolition of bullfighting in the Parliament, in which he mentions this cruel practice.

"The Moors established in Spain, regardless of the superstitions of his Koran, took this game and art, and throw a bull in the field. "

Bravo bull.

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Ovid Murgia DE CASTRO. Galician painter. Lestrove (Dodro) 1871 - 1900 - Neoclassicism, Romanticism. ISAAC

TREES. Watercolor on paper. Private collection.

OURIER hamlet. Watercolor on paper. Coleccón particular.

CHURCH WITH TREES. Front. watercolor on paper. Private collection.

STORM AT SEA. Oil on canvas. Private collection.

WINTER LANDSCAPE IN THE SARELA. Oil on canvas. Diputación Provincial de A Coruña. A Coruña (Spain.)

LANDSCAPE PONTEVILA SANT XOAN DA DA COBA. Oil on canvas. Rosalia de Castro Foundation.



BETANZOS, APSE OF THE TEMPLE OF SAN FRANCISCO. Watercolor on paper. Private collection.

Sierra de Guadarrama. Oil on canvas. Museo de Bellas Artes de A Coruña (Spain.)

MARINA. Oil on canvas. Private collection.

LANDSCAPE. Oil on canvas. Caixanova Collection.

BIOGRAPHICAL NOTES.

Ovidio Murguia de Castro (Lestrove (Dodro), 1871 -?, 1900) was a Galician painter. Son of the writer Rosalia de Castro, who inherited his artistic sense, and Manuel Murguia, left motherless at age 14 a fact that undoubtedly affect the evolution of painting.

started painting in Santiago de Compostela, the Real Sociedad Economica de Amigos del Pais, which was Professor Joseph Fenollera. Murguia appears linked to the intellectual core that brings together in La Coruña, a city where he exhibited with some regularity.
In 1895 he moved to Madrid, but does not follow the usual paths entering the Royal Academy Bellas Artes de San Fernando or requesting any pension for Rome, then little more than necessary for a career official.
Your relationship with novelist Lugín Alejandro Perez, whose home lies allowed to attend literary gatherings and interact with artists. Leaves the field, the area of \u200b\u200bthe Sierra de Guadarrama, painting natural scenery, and often goes to the Museo del Prado, where he made copies of old masters, to exercise the trade of painter.
known in Madrid that will be your protector, Eugenio Montero Rios and who owes the project for the decoration of the Palace of Lourizán in Pontevedra.
His father, ambitious man, he related to influential politicians of the period for which it has to do genre, much in vogue then, and wall decorations for their palaces. Ovid meet these orders, however reluctantly, until he decides to get rid of them completely and live happily, to the bohemian life that his poor health will not tolerate.
He attended some exhibitions, but its very short life is not allowed to curdle the work to which his temperament was undoubtedly intended. Representative
call generation "Suffering" addresses traditional themes very marked by the naturalist realist tradition in its first stage. It will, however, a crucial link in the renewal of the landscape where, as far away their chances of academicians lasts, start "painting from life", giving his paintings of great vital pulse, capturing an emotion that blends naturalism with the spirituality of Romanticism.
Ovidio Murguia paint contained in the museums of Galicia, especially in Pontevedra and La Coruna, where the most representative.
died prematurely of tuberculosis in 1900 with only 28 years old, a fact which later made it framed within the so-called Generation Suffering Galicia.



(Information obtained from Wikipedia)
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Levites. Russian realism. Los street "- Kibartai (1861) - Moscow (1900)

I. Levitan. "Nightfall. Haystacks. " 1899 Isaac Levitan


died before reaching age 40 in 1900. During the last years of his life dominated by sunsets and twilights in his work, the moments in which nature becomes something mysterious and unreal. A reflection perhaps on the very nature of existence and a reflection of the deep feelings that dwell within the artist. And not only that because Isaac Levitan was known at the time as the man who could capture the soul of the Russian landscape in his paintings.

This work is part of the collection Tretiakov Gallery in Moscow.

I. Levitan. "Golden Autumn." 1895


This picture belongs to the late period in the work of Isaac Levitan. At this time the author leaves the darkest shades of previous works and goes to more cheerful and airy motifs. This contrasts with the artist's personal life that gives him no joy and also worsens the disease.

This work is part of the collection Tretiakov Gallery in Moscow.

"March." 1895
Levitan is the founder
psychological landscape that transmits a variety of poetic associations in paintings like " March", " Lago.Rus or" or "Golden Autumn ." The artist is noted for its openness to different states of nature and the fine nuances of his painting.

Note: This table and put it in a previous post, but I like so much ... (I referred to above, the horse, although I like the way too much.)

I. Levitan. "The Vladimirka Road." 1892


A theme recurring in the work of Isaac Levitan is the roads as a metaphor for life and human destiny.

Vladimirka was the way that the prisoners had to walk their way to Siberia. This work represents the culmination of the efforts of the artists of the 60 and 70 s. XIX not only express emotions, but a certain vision of life, through the landscape.

At the time the painter would not accept money for this work and gave it to Pavel Tretiakov.

This work is part of the collection Tretiakov Gallery in Moscow.

I. Levitan. "On Eternal Peace." 1894 Isaac Levitan


Tretiakov Pavel wrote about this work: "This work is my whole being with all my mind and content."

Perhaps this work reflects the outlook of Levitan on the promontory with the church and the cemetery abandoned appear to face the immensity of sky and water. Seems to convey the fragility of the human condition and the expiration of their passage through this world. The human being is born and baptized in that church. When I die will be the same church that held his funeral. Neither your memory will last as the cemetery is crumbling and many of their fallen crosses. While nature remains in the midst of all changes.

This work is part of the collection of Tetriakov Gallery of Moscow.

Source: Museo Ruso. Lives and Masterpieces of Russian painting.



LAKE Ruso. I. Levitan

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He sings dels OCELLS. PAU couple. I Llimona



My Singing Bird. (Traditional Lyrics).

When they see rising

the brightest light in the night ditxosa,
the birds singing, it was to celebrate

with delicate voices.


The imperial eagle flies sky above it,
singing melody
saying: Jesus is born, to take away sin

and Dar-us joy. Reply

him it sparrow:
Today, Christmas Eve,
night is very happy! The Greenfinch and Siskin

say singer, too:
"Oh, what joy I feel!

sang the Passarell:
Oh, and beautiful hermós
is the child of Mary!
I answered the thrush:
defeated is death, life mia
already born!

Twitter nightingale:
is more beautiful than the sun
brighter than a star! The cars and Stonechat

to celebrate Mother's maiden manyac
and healthy.

reietó
by singing the glory of the Lord with inflating
BICAR;
the canary follows:
their heavenly music seems
great melody. Since the n'entra

cotoliu
saying
Birds come to celebrate the dawn! And it
Merlot, whistling,

was courting the biggest Lady. The

estiverola says: It is winter or summer

it is spring;
since nothing is everywhere a flower that gives

I smell fills the whole earth.

sang the Francolí: Bird
who wants to come

today at the break of day to see the great Lord with his great splendor

inside a stable?

Comes singing Hoopoe:
That night the King came
more greatness! The dove and the dove

admire everyone
singer without sadness.

woodpeckers and flying between fruit borroners

singing their joys;
the quail and cuckoo

have come a long way to see the Messiah.

partridge sang
I'm going to do it within that nest
established,
to see how the Child is

trembling in the arms of Mary.

The magpie, jay or Griva
say: Now comes the May! Reply
the Goldfinch:
Reverdin Every tree, every branch

like spring flowers.

whispers chaffinch:
Glory today and tomorrow

feel great joy to see the diamond
hermós so bright
the arms of Mary.

The lamb and owl
to see sunrise
be confused retreat. The owl and tawny owl

say I can not look;
m'admiren such splendor!

Source: Wikipedia.

The birdsong is a traditional Catalan Christmas carol. The song explains the joy of nature on the birth of baby Jesus in the stable of Bethlehem. As is common in traditional music, its origins are unknown. According to Joan

Amades, the text of the song is sung with different melodies. The most famous, made famous by Pablo Casals, adjusting the pace of cradle and it is used as a lullaby.
The illustrious Catalan cellist Pau Casals played this song on numerous occasions. This song became popular in some of the arrangements that he wrote, but in no case be interpreted as if the play were his, but belongs to the traditional Catalan culture.
result of feeling Catalan Pau Casals, feeling confronted by supporters of Franco, and a conference at the United Nations where he played this song, with orchestral accompaniment, the singing of birds became a symbol of peace and freedom around the world, but significantly in Catalonia.
is typical in Barcelona dismiss illustrious dead with singing of birds on the funeral to honor them. The same
Pablo Casals played this tune usually before finishing his concerts and recitals as a hymn to the harmony between peoples. In addition, Pablo Casals not ever played the cello in countries where there was war.
In his concert at the White House before President John F. Kennedy, after hearing the melody, the president he said: "We have made you feel humble."
numerous adaptations have been recorded, among which are its remarkable arrangement for eight cellos, or its arrangement for piano and cello.
Another version is the featured saxophonist Pedro Iturralde, which starts with a saxophone solo and ends with a set for jazz orchestra. We have also recorded several versions of songwriters (Lluís Llach), lyrical singers (Victoria de los Angeles), rock (rock Shepherds, etc.). Before Pau Casals, Pep Ventura wrote a heartfelt and beautiful Sardana with this name where the tenor is perhaps the most emotive cello master Pablo Casals.
This set of interpretations we suggest dimension and emotional interpretation of the piece. Pablo Casals popularized the songs of birds to the point in listening to the melody, one associates it with the feeling of country.